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Journal articles on the topic 'Fiction Focus'
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Egbert, Jesse, and Michaela Mahlberg. "Fiction – one register or two?" Register Studies 2, no. 1 (April 10, 2020): 72–101. http://dx.doi.org/10.1075/rs.19006.egb.
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Abstract In this paper our focus is on analyzing register variation within fiction, rather than between fiction and other registers. By working with subcorpora that separate text within and outside of quotation marks, we appromixate fictional speech and narration. This enables us to identify and compare linguistic features with regard to different situational contexts in the fictional world. We focus in particular on the novels of Charles Dickens and a reference corpus of other 19th-century fiction. Our main method for the register analysis is Multi-dimensional Analysis (MDA) for which we draw on altogether four dimensions from two previous MDAs. The linguistic distinctions we identify highlight similarities between fictional speech and involved registers such as face-to-face communication, and between narration and more informational and narrative prose. In addition to the detailed information on register features that characterize speech and narration, the paper raises more general questions about the ability of register studies to deal with situational contexts within fiction.
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Aldama, Frederick Luis, and Katie Skelly. "Introduction to Focus: Graphic Fiction." American Book Review 40, no. 1 (2018): 3. http://dx.doi.org/10.1353/abr.2018.0113.
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Aldama, Frederick Luis. "Introduction to Focus: Speculative Fiction." American Book Review 41, no. 1 (2019): 3. http://dx.doi.org/10.1353/abr.2019.0121.
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Burn, Stephen J. "Introduction to Focus: Serious Fiction." American Book Review 42, no. 4 (2021): 3. http://dx.doi.org/10.1353/abr.2021.0055.
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Watson, David. "Introduction to Focus: Detective Fiction." American Book Review 42, no. 5 (2021): 3. http://dx.doi.org/10.1353/abr.2021.0071.
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Bladon, Henry. "Should psychiatrists write fiction?" BJPsych Bulletin 42, no. 2 (February 26, 2018): 77–80. http://dx.doi.org/10.1192/bjb.2017.5.
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SummaryThis paper looks at the relationship between fiction and psychiatry. Specifically, the idea of psychiatrists as fiction writers is explored, and reference is made to various fictional texts to illustrate the problems of stigma and negative imagery. These two main areas of focus are highlighted as ones that the practice of writing fiction might address, and some potential pitfalls are discussed. The paper suggests how psychiatrists might ameliorate the present problems by incorporating their unique clinical skills and knowledge into fictional narratives.Declaration of interestNone.
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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Van De Mosselaer, Nele. "Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies." British Journal of Aesthetics 60, no. 3 (December 9, 2019): 241–51. http://dx.doi.org/10.1093/aesthj/ayz049.
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Abstract What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires (or ‘i-desires’) to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology with a novel mental state. Within their debates, however, these scholars exclusively focus on non-interactive fictions and children’s games of make-believe. In this paper, I argue that our experience of immersive, interactive fictions like videogames gives us cause to reappraise the concept of imaginative desires. Moreover, I describe how i-desires are a useful conceptual tool within videogame development and can shed new light on apparently immoral in-game actions.
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Aldama, Frederick Luis. "Introduction to Focus: YA Fiction, The Vital Pulse of Today’s Fiction." American Book Review 41, no. 6 (2020): 3. http://dx.doi.org/10.1353/abr.2020.0110.
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Mahlberg, Michaela, Viola Wiegand, Peter Stockwell, and Anthony Hennessey. "Speech-bundles in the 19th-century English novel." Language and Literature: International Journal of Stylistics 28, no. 4 (November 2019): 326–53. http://dx.doi.org/10.1177/0963947019886754.
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We propose a lexico-grammatical approach to speech in fiction based on the centrality of ‘fictional speech-bundles’ as the key element of fictional talk. To identify fictional speech-bundles, we use three corpora of 19th-century fiction that are available through the corpus stylistic web application CLiC (Corpus Linguistics in Context). We focus on the ‘quotes’ subsets of the corpora, i.e. text within quotation marks, which is mostly equivalent to direct speech. These quotes subsets are compared across the fiction corpora and with the spoken component of the British National Corpus 1994. The comparisons illustrate how fictional speech-bundles can be described on a continuum from lexical bundles in real spoken language to repeated sequences of words that are specific to individual fictional characters. Typical functions of fictional speech-bundles are the description of interactions and interpersonal relationships of fictional characters. While our approach crucially depends on an innovative corpus linguistic methodology, it also draws on theoretical insights into spoken grammar and characterisation in fiction in order to question traditional notions of realism and authenticity in fictional speech.
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Jacobs, Arthur M., and Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature." Review of General Psychology 22, no. 2 (June 2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.
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Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.
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Krevel, Mojca. "On the Apocalypse that No One Noticed." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (June 25, 2018): 9–16. http://dx.doi.org/10.4312/elope.15.1.9-16.
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“[W]hat if they gave an apocalypse and nobody noticed?” was the question that Brooks Landon (1991, 239) proposed as the central thematic concern of the 1980s cyberpunk – a movement which today represents a landmark in the development of the science fiction genre. Diverse as they are in their focus and scope, the contributions to this issue of ELOPE, dedicated to the position and role of speculative fiction, and especially science fiction, in a world which is increasingly becoming speculative and science fictional, invariably demonstrate that an apocalypse did indeed take place and went by largely unnoticed.
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Cui, Zhenhua, Yanping Yang, and Yanping Yang. "THE NARRATOR IN DORIS LESSING’S THE FIFTH CHILD." Advances in Social Sciences Research Journal 7, no. 9 (September 14, 2020): 174–82. http://dx.doi.org/10.14738/assrj.79.8823.
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This paper reviewed the theoretic classification on narrator of fictions. The narrator of THE FIFTH CHILD was described according to voice and point of view. The conclusion is the narrator in the famous fiction of Doris Lessing’s was omniscient, heterodiegetic/non-character, overt and reliable in its voice. While the fiction was narrated with the shift of multifocalizers in the point of view both from a character, Harriet, who witnessed the events, and from a heterodiegetic narrator, who made comments and questions to focus the readers’ attention on what he narrates.
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Ajdačić, D. "IRONY AND FANTASY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.
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The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world – it distorts, destroys or completes, or builds new worlds, and irony already adds a different vision to the ideas and views presented, regardless of whether they are real or fictional. The terminological and literary-theoretical aspects of the use of irony in works of literary fiction are discussed in the text. Dragan Stojanović’s book “Irony and Meaning” and the author’s terms “Ironical Focus” and “Meaning Pressure” are used as a theoretical starting point. After highlighting the touchpoints of irony and fiction and their special qualities and roles, is proposed a typology of the use of irony in fiction that separates ironic actions concerning the real world, the marvelous world and problematizing the relationship between the real and the marvelous world.
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Green, Jarrod L. "Why scream about sound in space? The functions of audience discourse about unrealistic science in narrative fiction." Public Understanding of Science 28, no. 3 (October 29, 2018): 305–19. http://dx.doi.org/10.1177/0963662518808729.
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Sound in space. Featherless dinosaurs. Physics-defying stunts. Unrealistic science in narrative fiction is often a subject of commentary and critique. However, there is limited research investigating the significance, risks and benefits of this discourse for audiences. This article analyses interviews and focus group discussions to develop a typology of functions that are served by audience discourse about the perceived realism of science in fiction. This typology illustrates how discourse about the realism of science in fiction can serve diverse functions for diverse audiences. Practitioners who use fictional examples in science communication may benefit from an awareness of the multifaceted nature of the discourse in which they are participating.
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Williamson, Eric Miles. "Introduction to Focus: The Fiction of the Workers." American Book Review 37, no. 1 (2015): 4. http://dx.doi.org/10.1353/abr.2015.0145.
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Kidd, David, Martino Ongis, and Emanuele Castano. "On literary fiction and its effects on theory of mind." Transdisciplinary Approaches to Literature and Empathy 6, no. 1 (December 14, 2016): 42–58. http://dx.doi.org/10.1075/ssol.6.1.04kid.
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Storytelling is a hallmark human activity. We use stories to make sense of the world, to explain it to our children, to create communities, and to learn about others. This article focuses on fictional stories and their impact on complex sociocognitive abilities. Correlational and experimental evidence shows that exposure to fiction recruits and hones our ability to represent others’ mental states, or theory of mind (ToM). Experimental studies suggest this effect is specific to literary fiction. Using a unique set of texts, we replicate the finding that literary fiction improves ToM performance. Consistent with the expectation of greater focus on characters in literary fiction, linguistic analysis of the texts revealed that the literary texts contain more markers of reflective function, a sophisticated manifestation of ToM. Further analysis showed the prevalence of markers of reflective function partially mediated the effect of literary fiction on ToM performance.
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Rhee, Jooyeon. "Making Sense of Fiction: Social and Political Functions of Serialized Fiction in the Daily News (Maeil sinbo) in 1910s Korea." Journal of Korean Studies 22, no. 1 (March 1, 2017): 227–55. http://dx.doi.org/10.1215/21581665-4153385.
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Abstract Modern Korean newspapers played a decisive role in transforming the Korean fiction genre in the early twentieth century―a transformation that was carried out in two distinctively different cultural and political environments. In the 1900s, reform-minded Korean intellectuals translated and authored fictional works in newspapers primarily as a way to instigate Koreans to participate in the nation-building process during the Patriotic Enlightenment movement (Aeguk kyemong undong) period. When Japan annexed Korea in 1910, the Daily News (Maeil sinbo) continually used fiction as a vehicle to deliver the colonial government’s assimilation policy, that is, to raise Korea’s socioeconomic and cultural status, with the aim of civilizing the society. The rhetoric of civilization is a common feature in fictional works produced during the period. However, what characterized the works serialized in Maeil sinbo was their increasing focus on individual desire and domestic affairs, which manifested itself in the form of courtship and familial conflicts. The confrontation between private desire and family relationships in these fictional works represented the prospect of higher education and economic equity while invoking emotional responses to the contradictory social reality of colonial assimilation in the portrayal of domestic issues in fiction. Looking at Maeil sinbo and its serialization of fiction not as a fixed totality of the Japanese imperial force but as a discursive space where contradicting views on civilization were formed, this paper scrutinizes emotional renderings of individuality and domesticity reflected in Maeil sinbo’s serialized fiction in the early 1910s.
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Selejan, Corina. "“C’est la vie, c’est la narration”: The Reader in Christine Brooke-Rose’s Textermination and David Lodge’s Small World." American, British and Canadian Studies Journal 26, no. 1 (June 1, 2016): 52–71. http://dx.doi.org/10.1515/abcsj-2016-0004.
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Abstract This article considers two metafictional academic novels from the reader’s point of view. It argues that this critical vantage point is suggested (if not imposed) by the fictional texts themselves. The theoretical texts informing this reading pertain either to reader response or to theories of metafiction, in an attempt to uncover conceptual commonalities between the two. Apart from a thematic focus on academic conferences as pilgrimages and the advocacy of reading as an ethically valuable activity, the two novels also share a propensity for intertextuality, a blurring of the boundaries between fictional and critical discourse, as well as a questioning of the borderline between fiction and reality. The reading of fiction is paralleled to the reading of (one’s own) life and self-reflexivity emerges as crucial to both types of literacy.
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Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (December 30, 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.
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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.
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WILSON, KIM. "The Past Re-imagined: Memory and Representations of Power in Historical Fiction for Children." International Research in Children's Literature 1, no. 2 (December 2008): 111–24. http://dx.doi.org/10.3366/ircl.2008.0001.
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This article argues that historical fiction functions as a collective memory: it provides a social framework for recollections that speak of a national agenda often through personal experiences. Taking as its examples three Australian and New Zealand fictions for children and young adults, from the late twentieth and early twentieth-first century, the article examines texts that focus on how we remember the past and what aspects of that past should be remembered: Memorial (1999), a picture book by Gary Crew (author) and Shaun Tan (illustrator), The Divine Wind (1998) by Garry Disher, and The Swap (2004) by Wendy Catran. Close analysis of these texts suggests that, like memory itself, historical fiction tends to eulogise the past. In historical fiction, for children especially, whilst power relations of cultural significance can be perpetuated, they can also be re-positioned or re-invented in order to re-imagine the past. Shifts in the present understanding of past power relationships contribute towards the reinvention of race relations, national ideologies and the locus of political dissent. The article concludes that historical fiction, because of its simultaneous claim to fact and imagination, can be a powerful and cunning mode of propaganda.
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Sahai, Arun, and Evangelos Zacharakis. "Urethral atrophy is fiction! Time to focus on the capsule?" BJU International 117, no. 4 (March 10, 2016): 549–50. http://dx.doi.org/10.1111/bju.13388.
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Andersen, Tore Rye. "Staggered transmissions." Convergence: The International Journal of Research into New Media Technologies 23, no. 1 (January 24, 2017): 34–48. http://dx.doi.org/10.1177/1354856516675256.
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The final part of the recent anthology Serialization in Popular Culture (2014) is called ‘Digital serialization’ and is devoted to ‘the influence of digital technologies on serial form’. The chapters throughout the anthology focus on modern serial phenomena such as TV series and computer games, but apart from a chapter on serial fiction in the 19th century, literature is conspicuously absent. However, the digital revolution has also left its mark on literature and given rise to new publishing strategies, including a resurgence of different forms of serialization. Some of the most notable examples of digital serial fiction are published via Twitter, and through analyses of recent Twitter stories by Jennifer Egan and David Mitchell, the article discusses how the micro-serialization of Twitter fiction both differs from and draws on the pre-digital tradition of serial fiction. In order to address these differences and similarities, the analyses focus on two interrelated aspects of serialization, temporality and interaction. Furthermore, they discuss the promotional dimension of Twitter fiction that arises as the financial dictates of legacy publishing intersect with fiction distributed via digital social media.
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Hatavara, Mari, and Jarkko Toikkanen. "Sameness and difference in narrative modes and narrative sense making: The case of Ramsey Campbell’s “The Scar”." Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 130–46. http://dx.doi.org/10.1515/fns-2019-0009.
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AbstractThe article discusses basic questions of narrative studies and definitions of narrative from a historical and conceptual perspective in order to map the terrain between different narratologies. The focus is placed on the question of how fiction interacts with other realms of our lives or, more specifically, how reading fiction both involves and affects our everyday meaning making operations. British horror writer Ramsey Campbell’s (b. 1946) short story “The Scar” (1967) will be used as a test case to show how both narrative modes of representation and the reader’s narrative sense making operations may travel between art and the everyday, from fiction to life and back. We argue that the cognitively inspired narrative studies need to pair up with linguistically oriented narratology to gain the necessary semiotic sensitivity to the forms and modes of narrative sense making. Narratology, in turn, needs to explore in detail what it is in the narrative form that enables it to function as a tool for reaching out and making sense of the unfamiliar. In our view, reading fictional narratives such as “The Scar” can help in learning and adopting linguistic resources and story patterns from fiction to our everyday sense making efforts.
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Elber-Aviram, Hadas. "Rewriting Universes: Post-Brexit Futures in Dave Hutchinson’s Fractured Europe Quartet." Humanities 10, no. 3 (September 3, 2021): 100. http://dx.doi.org/10.3390/h10030100.
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Recent years have witnessed the emergence of a new strand of British fiction that grapples with the causes and consequences of the United Kingdom’s vote to leave the European Union. Building on Kristian Shaw’s pioneering work in this new literary field, this article shifts the focus from literary fiction to science fiction. It analyzes Dave Hutchinson’s Fractured Europe quartet—comprised of Europe in Autumn (pub. 2014), Europe at Midnight (pub. 2015), Europe in Winter (pub. 2016) and Europe at Dawn (pub. 2018)—as a case study in British science fiction’s response to the recent nationalistic turn in the UK. This article draws on a bespoke interview with Hutchinson and frames its discussion within a range of theories and studies, especially the European hermeneutics of Hans-Georg Gadamer. It argues that the Fractured Europe quartet deploys science fiction topoi to interrogate and criticize the recent rise of English nationalism. It further contends that the Fractured Europe books respond to this nationalistic turn by setting forth an estranged vision of Europe and offering alternative modalities of European identity through the mediation of photography and the redemptive possibilities of cooking.
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Browse, Sam, and Mari Hatavara. "“I can tell the difference between fiction and reality”." Narrative Inquiry 29, no. 2 (October 16, 2019): 333–51. http://dx.doi.org/10.1075/ni.19018.bro.
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Abstract This article approaches fictionality as a set of semiotic strategies prototypically associated with fictional forms of storytelling (Hatavara & Mildorf, 2017b). Whilst these strategies are strongly associated with fiction, they might also be used in non-fictional and ontologically ambivalent contexts to create ‘cross-fictional’ rhetorical effects. We focus on the representation of thought and consciousness. Using the concept of ‘mind style’ (Fowler, 1977, 1996; Leech & Short, 1981; Semino, 2007), we investigate the linguistic representation of the internal monologue of British Prime Minister, Theresa May, in a satirical newspaper article. The stylistic analysis of the PM’s mind style facilitates an account of the elaborate and nuanced mixing of May and the author’s ideological perspectives throughout the piece. We argue that this cross-fictional, stylistic approach better accounts for the satirical effects of fictionality in the text than those placing a premium on authorial intention and the invented nature of the narrative discourse.
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Vendrell Ferran, Íngrid. "Emotion in the Appreciation of Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 204–23. http://dx.doi.org/10.1515/jlt-2018-0012.
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Abstract Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford’s celebrated paper »How Can We Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitivism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appreciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions.
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Flothow, Dorothea. "Historical Crime Fiction as Popular Historiography." Crime Fiction Studies 1, no. 2 (September 2020): 203–20. http://dx.doi.org/10.3366/cfs.2020.0021.
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Due to the current history boom in the UK, which manifests itself in the conspicuous popularity of historical novels, costume dramas, and in rising visitor numbers to museums, the study of popular historiography has become a growing and vibrant field. Popular historiography formats such as costume dramas, historical romances, and re-enactments have been recognised as a key influence on the public's knowledge of the past. Consumed informally and voluntarily, entertaining and easily accessible, popular histories are often more significant for the public's perception of ‘historical fact’ than ‘academic’ forms of historiography. This article examines historical crime fiction as a genre of popular historiography with a special focus on recent novels set in the late seventeenth century, a period that has lately been the focus of a number of exciting crime series. As a genre mostly written to a formula, concentrating on a narrow theme (i.e. crime and violence), and typically showing the life of ‘the mean streets’, crime fiction has a genre-specific view of the past. Due to its focus on the everyday, it shows aspects of history which are particularly popular with a wider public. Additionally, as it is frequently preoccupied with history's dark secrets, crime fiction is especially suited to re-writing established images of the past.
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Nikolajeva, Maria. "Recent Trends in Children's Literature Research: Return to the Body." International Research in Children's Literature 9, no. 2 (December 2016): 132–45. http://dx.doi.org/10.3366/ircl.2016.0198.
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Twenty-first-century children's literature research has witnessed a material turn in strong response to the 1990s perception of childhood and the fictional child as social constructions. Cultural theories have generated fruitful approaches to children's fiction through the lenses of gender, class, race and sexual orientation, and psychoanalytically oriented theories have explored ways of representing childhood as a projection of (adult) interiority, but the physical existence of children as represented in their fictional worlds has been obscured by constructed social and psychological hierarchies. Recent directions in literary studies, such as ecocriticism, posthumanism, disability studies and cognitive criticism, are refocusing scholarly attention on the physicality of children's bodies and the environment. This trend does not signal a return to essentialism but reflects the complexity, plurality and ambiguity of our understanding of childhood and its representation in fiction for young audiences. This article examines some current trends in international children's literature research with a particular focus on materiality.
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Iqbal, Muhammad. "ANALISIS KRITIS TERHADAP KEBIJAKAN SELEKSI KOLEKSI FIKSI (STUDI KASUS DI PERPUSTAKAAN KANAAN GLOBAL SCHOOL JAMBI)." Jurnal Pustaka Ilmiah 5, no. 1 (August 22, 2019): 755. http://dx.doi.org/10.20961/jpi.v5i1.34130.
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<p>ABSTRACTSelection Policies generally is guidelines for library that contains the design and activities that will be increase quality and quantity of collections. This written activity has capability to guide library vision, mission, and goal. He purpose of this research are to review selection process of fiction collection, selection authority, and selection principle in Kanaan Global School Jambi Library. This research using case study approach and research data obtained from interviews and documentation. The result shows: (a) on selection process, selection plot already on point but there is no written policy; the librarian also have know how to use selection tools such as publisher catalogue and bookstore website (b) dualism of authority in fiction book selection policy were librarian and chief director. Librarian just as Indonesian fiction collection selector and the chief director as foreign language fiction collection. (c) Principle differences on fiction collection, librarian more focus on collection popularity and the chief director more focus on quality and vision mission and curriculum relevance.</p>
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TOAL, CATHERINE. ""Some Things Which Could Never Have Happened": Fiction, Identification, and "Benito Cereno"." Nineteenth-Century Literature 61, no. 1 (June 1, 2006): 32–66. http://dx.doi.org/10.1525/ncl.2006.61.1.32.
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Observing that Herman Melville's most significant fictional addition to his source text for "Benito Cereno" (the San Dominick's skeleton figurehead) reverses the terms of a trope used in the "Agatha" letter to Nathaniel Hawthorne of 13 August 1852, this article proposes that the skeleton's role in the tale converts a perhaps frustrated attempt at professional identification with Hawthorne-detectable in the scheme of semi-collaboration broached by the letter-into a dismantling of the foundations of American identification,and of the identificatory lures involved in the processes of fiction-making and fiction-reading. Although there has been considerable focus on the narrative'smanipulation of identification (particularly the snare of Delano's perspective), critics have not provided an account of the ways in which its total fictional structure, organized around the skeleton figurehead, systematically alters the meaning of its white protagonists'-and its readers'-potential affiliations. My essay attributes critical reluctance to offer such an account to the persistence of a nineteenth-century faith in the autonomous value of "sympathy" as a political resource, and to a neglect, evident in more recent,historicist analyses, of the political work that fictional artifice performs. It traces the functions and implications of "Benito Cereno"'s skeleton through an exploration of the tale's reception history, showing this history to be comprised of a series of identificatory maneuvers which in seeking to complete or add "flesh" to the fiction, are parodied or compromised by its immanent "unbuilding" of plot and narrative teleology.
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Biernacka, Jadwiga. "Fiction of Discourse. Remarks on a Less Conventional Form of Fiction in the Contemporary Polish Reportage." Tekstualia 4, no. 47 (September 5, 2016): 111–22. http://dx.doi.org/10.5604/01.3001.0013.4301.
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The article discusses different uses of fi ction in the contemporary Polish reportage, with a special focus on the fiction of discourse. This kind of fiction is described as a specific authorial way of delivering comments and reporting conversations or speeches. Such solutions do not change the plot. The issues addressed in the article concern primarily the ways in which this narrative technique infl uences the readers and whether the fiction of discourse is possible in the reportage or it only misrepresents reality.
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888–909. http://dx.doi.org/10.22409/gragoata.v23i47.33608.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.---Original in English.
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Behme, Christina. "Focus on facts not fiction: Commentary on Ambridge, Pine, and Lieven." Language 90, no. 3 (2014): e97-e106. http://dx.doi.org/10.1353/lan.2014.0047.
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Oatley, Keith, and Maja Djikic. "Psychology of Narrative Art." Review of General Psychology 22, no. 2 (June 2018): 161–68. http://dx.doi.org/10.1037/gpr0000113.
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Artistic narrative has been recognized in fictional genres such as poetry, plays, novels, short stories, and films. It occurs also in nonfictional genres such as essays and biographies. We review evidence on the empirical exploration of effects of narrative, principally fiction, on how it enables people to become more empathetic, on how foregrounded phrases encourage readers to recognize the significance of events as if for the first time in ways that tend to elicit emotion, and on how literary works can help people to change their own personalities. We then suggest 3 principles that characterize narrative art in psychological terms: a focus on emotion and empathy, a focus on character, and a basis of indirect communication.
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Mahlberg, Michaela, Peter Stockwell, Johan de Joode, Catherine Smith, and Matthew Brook O'Donnell. "CLiC Dickens: novel uses of concordances for the integration of corpus stylistics and cognitive poetics." Corpora 11, no. 3 (November 2016): 433–63. http://dx.doi.org/10.3366/cor.2016.0102.
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This paper introduces the web application CLiC, which we developed as part of a research project bringing together insights from both cognitive poetics and corpus stylistics, with Dickens's novels as a case study. CLiC supports the analysis of discourse in narrative fiction with search options that make it possible to focus on stretches of text within and outside quotation marks. We argue that such search options open up novel ways of using concordances to link lexico-grammatical and textual patterns. We focus specifically on patterns for the creation of fictional characters. From a technical point of view, we explain the XML annotation that CLiC works with. Our discussion of textual examples focusses on phrases in fictional speech that illustrate significant differences between text within and outside quotation marks. In terms of theory, we argue that CLiC supports the identification of textual patterns that can provide insights into fictional minds and contribute to the exploration of readerly effects within the wider framework of mind-modelling.
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Wigand, Moritz E., Hauke F. Wiegand, Ertan Altintas, Markus Jäger, and Thomas Becker. "Migration, Identity, and Threatened Mental Health: Examples from Contemporary Fiction." Transcultural Psychiatry 56, no. 5 (August 9, 2018): 1076–93. http://dx.doi.org/10.1177/1363461518794252.
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In 2015, the world saw 244 million international migrants. Migration has been shown to be both a protective and a risk factor for mental health, depending on circumstances. Furthermore, culture has an impact on perceptions and constructions of mental illness and identity, both of which can be challenged through migration. Using a qualitative research approach, we analysed five internationally acclaimed and influential novels and one theatre play that focus on aspects of identity, migration, and threatened mental health. As a mirror of society, fiction can help to understand perceptions of identity and mental suffering on an intrapsychic and societal level, while at the same time society itself can be influenced by works of fiction. Fiction is also increasingly used for didactic purposes in medical education. We found that the works of fiction discussed embrace a multifaceted biopsychosocial concept of mental illness. Constructs such as unstable premigration identity, visible minority status (in the host country) and identity confusion in second-generation migrants are conceptualised as risk factors for mental illness. Factors portrayed as protective comprised a stable premigration identity, being safe with a family member or good friend, (romantic) love, therapeutic writing, art, and the concept of time having an element of simultaneousness. This literature challenges the idiocentric model of identity. Analysing fictional texts on migration experiences can be a promising hypothesis-generating approach for further research.
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JT Torres. "Data Telling Stories and Stories Telling Data: The Role of Fiction in Shaping Ethnographic Truth." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 1 (January 24, 2020): 9–14. http://dx.doi.org/10.33258/biohs.v2i1.137.
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The following essay explores the use of fiction in ethnographic research. While the concept of fiction as a research methodology is not a new one, most proponents claim that fiction is most useful in the writing of ethnographic data. Despite the gradual acceptance of arts-based methods in ethnography, there still remains a false dichotomy of art and scientific research. This essay contributes to the discussion by arguing that fiction also plays an active role in producing knowledge and truth. To make this argument, the author brings together in conversation scholars of art and literature with social researchers. While multiple examples are illustrated to show how fiction creates knowledge in ethnography, the primary focus will be Clifford Geertz’s (2005) “Notes on a Balinese Cockfight.” The purpose is to demonstrate how fiction can be a means of knowledge production, so long as it is situated in sound research methods.
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Veselica-Majhut, Snježana. "Trudności związane z przekładem elementów kulturospecyficznych w literaturze kryminalnej: przykład Chorwacji." Przekładaniec, no. 40 (2020): 130–56. http://dx.doi.org/10.4467/16891864pc.20.007.13170.
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Challenges of translating cultural embeddedness in crime fiction: a picture from Croatia The aim of the present study is to examine the specific features of translating crime fiction genre in Croatia in the 2000s. Frederic Jameson (qtd. in Rolls, Vuaille-Barcan & West-Sooby 2016) foregrounded the notion of crime fiction’s role as the new Realism due to the importance it places on historical and geographical specificity, and the social fabric of our daily lives. In line with this, an assumption could be made that the overvaluation of place in crime fiction may present a particular challenge in translation, not only in terms of translation strategies chosen by translators, but also in terms of preferable marketing strategies pursued by publishers and editors and the correspondence between them. The focus of this study is on the patterns of handling source-culture embeddedness, typical of this genre, in translation. The study examines how diverse agents (editors, translators and language revisers) involved in the production of translations of this genre interact and how their interaction influences the decisions on handling the genre’s embeddedness in a particular, source-culture, reality. As crime fiction novels are a highly popular translated genre in Croatia, crime fiction novels make a substantial portion of the production of the publishing sector. For the purposes of this study we have selected a number of crime fiction novels by several frequently translated authors (P. D. James, Ruth Rendell, Michael Connelly) that have been published by Croatian publishers of diverse profiles, ranging from well-established publishers with long presence on the market to start-ups with a relatively short market life. The data analyzed include interviews with the agents involved (translators, editors and language revisers), peritext of these editions and analysis of selected textual segments.
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Marot Kiš, Danijela. "Memory, writing and narration: The flea markets of memory in Dubravka Ugrešić’s The Museum of Unconditional Surrender." Journal of European Studies 50, no. 2 (May 18, 2020): 178–92. http://dx.doi.org/10.1177/0047244120918477.
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The narrative of Dubravka Ugrešić’s novel The Museum of Unconditional Surrender (1997) revolves around three core motifs: the problem of memory and remembering, the experience of temporality, and the notion of exile, developed in relation to the dichotomy of fact versus fiction. While most theoretical approaches to the novel focus on the motif of exile in the context of dominant ideological patterns of the new national states formed after the breakup of Yugoslavia, this paper represents a shift in interpretative focus to the problem of memory and the experience of temporality in the perspective of the dynamics of history and fiction.
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Theodorsen, Cathrine. "Political realism and the fantastic romantic German liberal discourse and the Sámi in Theodor Mügge’s novel Afraja (1854)." Nordlit 12, no. 1 (February 1, 2008): 355. http://dx.doi.org/10.7557/13.1350.
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The novel Afraja, written by the German author and liberal Theodor Mügge and published in 1854 provides an opportunity to explore connections between travel writing and adventure stories from the perspective of one of Germany's most popular writers of the nineteenth century. The focus of my discussion in this paper is to explore the implications of the meeting between a fictional Sámi, living in the exotic North and a Danish aristocratic adventurer whose attitudes reflect the discourse of Mügge's politically liberal views. Additionally, Mügges fiction sketches out different images of the Sámi.
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Ollett, Robyn. "Miles away from Screwing?" Girlhood Studies 12, no. 1 (March 1, 2019): 1–16. http://dx.doi.org/10.3167/ghs.2019.120103.
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Literary fiction is a widely popular arena in which discourse on sexuality and queerness is produced and disseminated. The Gothic is an especially crucial mode in literary fiction that has a historically intimate relationship with queer subjectivity. Observing this relationship between Gothic fiction and queer subjectivity, in this article I analyze the representation of queer Gothic girlhood in contemporary fiction, taking as my focus John Harding’s 2010 reworking of the Henry James classic, The Turn of the Screw (1898). I show how Florence and Giles develops familiar tropes attached to the figure of the queer child and look specifically at how readings of the parent text implicate contemporary readings of this figure. With close readings that draw on the queer feminist ethics of Lynne Huffer, I consider what seems to be happening to the figure of the queer Gothic girl in contemporary fiction.
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Szydłowska, Joanna. "Od egzotyzacji do inspiracji. Mazurscy staroobrzędowcy w polskich narracjach fiction i non-fiction w XX i XXI wieku." Acta Neophilologica 2, no. XXI (January 18, 2020): 253–74. http://dx.doi.org/10.31648/an.4760.
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This paper analyzes the presence of the Old Believers in Polish media and literary discourses of the 21st century. Special focus is placed on the exoticization pro-cedures of otherness with respect to the Old Believers’ communities. Instrumentaliza-tion mechanisms in the following modules are described: national and anthropological, autobiographical, popcultural and eschatological.
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Peterson, Nadya L. "The Private “I” in the Works of Nina Berberova." Slavic Review 60, no. 3 (2001): 491–512. http://dx.doi.org/10.2307/2696812.
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This article aims to identify prevalent concerns and anxieties informing Berberova's works, whether designated as fiction, biography, fictionalized history, or autobiography; to observe what is hidden behind the public facade of the autobiographical self; and to determine how the fictional and the autobiographical are connected in the writer's narratives. Berberova's autobiography, as well as her fictional and biographical writings, provide a fertile ground for investigating the author's frame of reference from the point of view of her gender. A close look at the nature of autobiography, with its careful construction of a public self, offers insight into the way Berberova wants others to see her. Paying attention to the struggle for physical and spiritual survival, the focus of Berberova's writing in general, affords an understanding of what the author deems necessary in order to overcome the hardships of emigration, the challenges of failed relationships, and the hazards of being a woman writer. Berberova's connections with men and women in her life—described by herself, seen by others, reflected in her fiction—all point to a pivotal concern with the strengths and weaknesses of her own gender.
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Kotrla Topić, Marina. "EMOTIONAL ENGAGEMENT, BUT NOT TRANSPORTATION LEADS TO HIGHER EMPATHY AFTER READING A FICTIONAL STORY, IN MORE AGREEABLE PARTICIPANTS." Primenjena psihologija 14, no. 2 (July 20, 2021): 211–27. http://dx.doi.org/10.19090/pp.2021.2.211-227.
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Research from different disciplines points to a positive relationship between reading fiction and empathy. Some studies also focus on potential moderators of this relationship, such as individual personality differences and how the individual engages with the fictional text in terms of transportation. The aim of this paper is to investigate whether reading-induced affective empathy can be explained by personality traits, namely Agreeableness, and Emotional engagement, and Transportation. Participants were 132 undergraduate and graduate students, who read a short fictional story by J. Joyce and after that completed a set of questionnaires, containing measures of Big Five personality traits, Emotional engagement, Transportation and affective Empathy. Results show that there is a strong positive relationship between Agreeableness and story-induced Empathy and that this relationship can be partially explained by Emotional engagement. Transportation, on the other hand, did not show to be an important variable in the relationship of Agreeableness and story-induced Empathy, neither did it show to be a significant factor in this relationship when Emotional engagement was included.
This study provides information for additional understanding of the relationship between reading fiction and empathy through the investigation of its mediators.
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Birdi, Briony. "Genre fiction readers: a quantitative exploration of provided construct ratings." Journal of Documentation 70, no. 6 (October 7, 2014): 1054–75. http://dx.doi.org/10.1108/jd-02-2014-0039.
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Purpose – The purpose of this paper is to adapt a repertory grid technique to investigate fiction readers’ attitudes and beliefs, with a specific focus on minority ethnic fiction. Design/methodology/approach – The study required participants (n=36) to rate on a seven-point Likert scale a series of 16 provided constructs, using ten main elements, namely, the reader of ten fiction genres. Statistical tests investigated participant agreement across construct ratings, where on average fiction readers are rated on a construct continuum, and the extent to which public library work experience affected participants’ perceptions. Findings – Findings were revealed regarding the perceived characteristics of the readers of ten fiction genres, including minority ethnic fiction. The readers of Asian and Black British fiction were similarly rated, but certain exceptions were also noted which had not been reported in previous research. Although intraclass correlations indicated that ratings were consistent for the more established fiction genres, there was little agreement regarding minority fiction. Research limitations/implications – The research was potentially limited by the ethnic homogeneity of the sample population and the gender imbalance of same, and (in some cases) a lack of knowledge of minority fiction genres. It was felt that the repertory grid was an effective technique via which to build a rich profile of the fiction reader. Practical implications – This research could inform the development of fiction collections, and its detailed examination of fiction reader profiles could be adapted in three specific ways, as described in the paper. Originality/value – Little previous research has been conducted to differentiate between readers of different fiction genres, and less still for those of minority ethnic fiction genres.
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Nicolini, Matteo, and Thomas Perrin. "Islands and Insularity: Between Law, Geography, and Fiction." Pólemos 14, no. 2 (September 25, 2020): 209–23. http://dx.doi.org/10.1515/pol-2020-2014.
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AbstractWithin the cross-disciplinary research on “Law, Changes and Technology,” this essay introduces the focus on “Islands and insularity: between law, geography, and fiction.” The intriguing and enthralling topic of “Island-ness” places emphasis on the manifold intersections between law, geographic studies, political power, and the humanities. These intersections reflect several issues, such as territorial localisation, environmental crises, colonial imaginaries, as well as the insular societal contexts in which they are imbricated. The focus delivers both a synthetic view of these questions and opens up further perspectives for reflection. The contributions engage various topics and adopt different approaches. Beyond this richness of inputs, the essays reveal some common characteristics of islands and insularity as objects and subjects of human imagination, social organisation, and scientific reflection. In particular, two main issues of islands and insularity can be identified, i.e. dialectics and metaphor.
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Moulaison Sandy, Heather, Beth M. Brendler, and Karen Kohn. "Intersectionality in LGBT fiction." Journal of Documentation 73, no. 3 (May 8, 2017): 432–50. http://dx.doi.org/10.1108/jd-07-2016-0092.
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Purpose The purpose of this paper is to evaluate characters and scenarios reflecting varied lesbian, gay, bisexual, and transgender (LGBT) identities in fiction in two library acquisitions platforms: a traditional library vendor (Coutts’ OASIS) and a freely available platform for self-published eBooks (Smashwords). Design/methodology/approach Using intersectionality as an approach, 200 LGBT fiction titles were examined in OASIS and in Smashwords with the goal of assessing the characters and scenarios represented. The hypothesis was that Smashwords’s titles, because they were self-published, would include more variety. Findings The titles in both platforms were roughly similar, with a pronounced focus on white gay males. Research limitations/implications This research relied on limited metadata provided in each system. Additional research should evaluate the quality of the titles and the nature of the publishers. Practical implications Although the Smashwords eBook platform provides access to eBooks, a convenient way to consume genre fiction, the titles available do not represent more diverse LGBT identities than the titles available through a traditional library vendor platform, OASIS. Originality/value As libraries struggle with practical implications for selecting materials representing varied viewpoints, the question of self-published or indie eBooks has emerged as a potential option for providing these perspectives. The findings of this study indicate, however, that instead of reflecting a more diverse readership, the sample of Smashwords LGBT fiction eBooks examined largely resembles the materials that a library vendor provides.
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Viidalepp, Auli. "Representations of robots in science fiction film narratives as signifiers of human identity." Információs Társadalom 20, no. 4 (December 31, 2020): 19. http://dx.doi.org/10.22503/inftars.xx.2020.4.2.
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Recent science fiction has brought anthropomorphic robots from an imaginary far-future to contemporary spacetime. Employing semiotic concepts of semiosis, unpredictability and art as a modelling system, this study demonstrates how the artificial characters in four recent series have greater analogy with human behaviour than that of machines. Through Ricoeur’s notion of identity, this research frames the films’ narratives as typical literary and thought experiments with human identity. However, the familiar sociotopes and technoscientific details included in the narratives concerning data, privacy and human–machine interaction blur the boundary between the human and the machine in both fictional and real-world discourse. Additionally, utilising Haynes’ scientist stereotypes, the research puts the robot makers into focus, revealing their secret agendas and hidden agency behind the artificial creatures.
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Tursunova, Yulduz Yusuf qizi. "NICKNAMES IN FICTION: ON THE EXAMPLE OF ABDULLA KAHHAR`S STORIES." Scientific Reports of Bukhara State University 5, no. 2 (May 24, 2021): 208–16. http://dx.doi.org/10.52297/2181-1466/2021/5/2/19.
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Abstract. As you know, the semantic and functional types of Uzbek anthroponymy are the names of people, surnames, patronymics and nicknames. The creator of a fictional work applies overwhelming number of concepts in terms of anthroponomy. Nicknames play a particularly significant role in representing the stylistic aspects of the work. In addition, nicknames also perform functional tasks. The author carries out their transition from the appellative level to the onomastic level. The article provides a linguistic analysis of the nicknames presented in the stories of Abdullah Kahhar. We will briefly focus on the anthroponymic units of onomastics of the Uzbek language, as well as consider a broad approach to the classification of nicknames in the stories of the writer and provide information about the motives put forward in them. Research methods.